Review - Closet Cases (William Mullin)

By Byrne Harrison

Producer William Mullin has brought Shawn Hollenbach's Closet Cases to Provincetown for a limited run at The Vixen's Madeira Room in August and over Labor Day weekend. Closet Cases features a top-notch line up of gay and lesbian performers telling their own coming out stories.

Admittedly, this is a hard show to review since it has a rotating cast; no show will be exactly like the previous ones. The performance I saw featured Michael Brill, Chantal Carrere, John Flynn, and Kate McKinnon. The stories, as expected, were very funny, but did have some touching moments. And some creepy ones. And one that made me kind of want to throw up.

Hosted by Mullin, the show is fast paced and hilarious. One of the most interesting aspects of the show, especially for you wanna-be reality stars, is that Mullin brings up an audience member (don't worry if you're one of those shy types, you have to volunteer; he doesn't just snatch you from your seat) to tell their own coming out story. Don't have one? Then you can talk about a friend's or loved one's. Mullin does this in an Oprah-like interview, which is a very good format for keeping the guest on track. Mullin makes a genial and effective host.

The cast over Labor Day weekend(assuming the hurricane doesn't screw things up) will be:

Friday, September 3rd
Frank DeCaro
Robin Cloud
lizz furtado
Mike Albo

Saturday, Sept 4th
Frank DeCaro
Robin Cloud
lizz furtado
Steven Polito (Hedda Lettuce)

Sunday, Sept 5th
Frank DeCaro
Steven Polito (Hedda Lettuce)
Mimi Gonzalez
Neil Thornton

Want to find out more about the guest stars? Visit the Closet Cases site.

Closet Cases runs about an hour, so it's the perfect length for someone seeking a laughter-filled diversion before a night out. There was a large crowd the night I saw the show, so I would buy tickets early. Tickets are available at the door or by calling 508.487.6424.



Closet Cases
Produced by William Mullin

The Vixen Night Club
336 Commercial Street

Through Sept. 5th

Review - Derin Brockovich: The Musical (Become Entertainment, Steve Alden Nelson, and The Provincetown Theatre Company)

By Byrne Harrison

Steve Alden Nelson and Michael Sottile have given a Provincetown twist to their parody of the 2000 Julia Roberts vehicle "Erin Brockovich." Erin is now Derin Brockovich (Michael Sottile), a ridiculously well-endowed father of three with few marketable job skills. After losing a lawsuit over an accident caused by his amorous pursuits in a parked car, Derin convinces his toupeed and perpetually horny attorney Dick Small (Nicholas Guide) to hire him as an office clerk. As he takes Dick's calls, he sees a disturbing pattern emerging - something is shrinking the men of P'town... you know, down there. With Dick's permission, Derin investigates and quickly determines that the common thread among the victims is their incessant cell phone use. Could it be that Betty Lichter (Katilin Varkados), the billionaire who is flooding the Cape with cell phone towers could be behind it? Spoiler alert: She is.

But can Derin stop her with nothing more than his endowment, Dick Small's questionable legal talent, and the love of a good drag queen (Steve Alden Nelson)? Or will it take the confession of an insider who knows all of Betty Lichter's secrets?

Well, if you saw "Erin Brockovich," you can figure out the answers to all those questions. But getting there is half the fun.

As a parody of "Erin Brockovich," Derin Brockovich is a success. It lampoons the overblown aspects of the movie, while showing a certain admiration for the source material. As it currently stands, however, it stays a little too true to the film. A shorter, tighter script would benefit the production, and would concentrate the humor, as would some stronger direction, especially as to the pace and timing, by director Michael Sottile (who wears many, many hats in this production).

In addition, a little more work on the relationship between Derin and his biker-chick, drag queen paramour Whore-neeto (Steve Alden Nelson) would greatly help the story. It's clear why Whore-neeto instantly falls for Derin (the whole ridiculously well-endowed thing), but Derin's lack of any visible affection for Whore-neeto - she's just a convenient babysitter - makes it hard to understand his eventual decision to be with her.

Otherwise, the play has lots of laughs and features some terrific musical numbers by Michael Sottile. Sottile has a good ear for different styles of music and he plays with several in the show, from novelty numbers, to torch songs and power ballads. He also is a talented singer, as is most of the cast, so the musical numbers are definitely a high point of the production.

Acting is somewhat varied in the show. There is a fine line between being humorously broad and chewing scenery, and some of the cast give their molars a workout. The outstanding performer without a doubt is Kaitlin Varkados, especially in her role of Betty Lichter. Betty is brassy and over-the-top, but rooted in reality. Varkados plays up the comedy, but never goes overboard. She gives a fantastic performance.

Michael Sottile also excels as Derin, who despite his humorously large endowment and the degrading things he has to do to move the lawsuit forward is always portrayed as a fairly noble character. Sottile also brings the house down at several points with his powerful ballads.

Steve Alden Nelson brings a certain tragic dignity to Whore-neeto, which given the character's name, is no small feat. Again, this role is somewhat underwritten, and I would like to see more chemistry between Whore-neeto and Derin.

Technical elements are good, though striking and setting certain props and set pieces slow some of the scene changes. In a show like this, where pacing is so important, anything that can be done to speed it up is helpful. Karen Billard's costumes are well done, especially those for the female (or cross-dressing) characters.

I also should mention Chuck Saculla's choreography which was light and fun to watch, and appropriate for actors with varying dance skills.

Derin Brockovich: The Musical offers plenty for both the "Erin Brockovich" fans and those who aren't familiar with the movie. While the script and the production could use a little tweaking, overall the great songs, loads of laughter, and a high sexual inuendo content are just the thing for those who are looking for a fun night out.

Derin Brockovich: The Musical
Written by Steve Alden Nelson and Michael Sottile
Created by Steve Alden Nelson, Danny Schmitz and Michael Sottile
Directed by Michael Sottile
Original Music/Musical Direction/Orchestrations/Musical Programming/Sequencing: Michael Sottile
Choreographer: Chuck Saculla
Assistant Director: Melissa Nussbaum Freeman
Lighting Design: Michael Clark Wonson
Set Design: Matthew CW Page
Sound Design: Allen Gallant
Costume Design/Wig Stylist/Make-Up: Steve Carey
Costume Design: Karen Billard
Stage Manager: Roberta Eggart
Props Mistress: Chris M. Kerr
Sound Operator: Patrick Lamerson
Lighting Operator: Alex Turevich

Featuring: Michael Sottile (Derin Brockovich), Nicholas Gulde (Dick Small), Christopher Clough (Fisherman, Sheila Schmata, Escort #1, Ensemble), Clyde Shelby Mellert (Shermie Schmata, Creepy Guy, Ensemble), Steve Alden Nelson (Whore-neeto), Kaitlin Varkados (Betty Lichter, Mia, Ensemble)

The Provincetown Theatre
238 Bradford Street

Through September 4th

Review - Candide (Counter Productions)

By Byrne Harrison

With only a passing familiarity with the musical, I wasn't sure what to expect from Provincetown's Counter Productions' version of the Leonard Bernstein, Richard Wilbur and Hugh Wheeler musical Candide. Their small, yet enthusiastic production was delightful.

Director Susan Grilli maximizes the space in the somewhat snug studio by setting the play in the round. Set designer Michael Steers uses the leftover available space - primarily the walls and ceiling - to string lights, bunting, posters, and curtains to decorate the otherwise empty space. The result feels like a festive garden party with a private performance for a handful of honored guests. This combined with the intimate staging (watch your feet!) and the fact that you can observe the other audience members at all times, really makes Candide a group experience. Based on the audience the night I saw the show, the experience was an enjoyable one.

The principals are well chosen, each with an excellent voice. Soprano Nell Snaidas, who is picture perfect as Cunegonde, has a set of pipes on her that won't quit. Her "Glitter and Be Gay" is terrific, and though not my favorite song in the show, makes me appreciate it a bit more. Snaidas shares a good chemistry with Ben Griessmeyer, who makes a particularly eager and earnest Candide. Their "Oh Happy We" is one of the high points of the show. Darlene Van Alstyne is great as the coquettish, yet sadly underwritten, Paquette. Adam Berry, who plays Voltaire, Pangloss, and a rakish Governor, is a strong performer and does particularly well jumping between characters. While I would like to have seen an older actor in this role, Berry does an excellent job, particularly as the pedantic Pangloss. Jon Shee, as the vain and fiery-tempered Maximillian, and Lacey A. Waite as the Old Lady round out the principals. Both are good performers, though Waite's choice of accent for her character does make her hard to understand at times, especially when she is facing away from your section.

Candide features some amazing work by Music Director John Thomas and Brad Conant, Marija Kovacevic and Roxanne Layton, his musicians. The four perform flawlessly, with Layton's work on the recorders particularly well done.

The quality of the ensemble ranges from professional to community theatre. While this gives the production a slightly uneven feel, it also shows that Counter Productions is taking an active role in building its ensemble and providing training for younger and less experienced actors. At only three years old and with 25 productions under its belt, it's exciting to think of what this company has ahead of them.

Sadly there are only two performances left of this charming production (and I hear one is already sold out). If you haven't had a chance to see Candide yet, make your reservations now.

Candide
Book adapted from Voltaire by Hugh Wheeler
Music by Leonard Bernstein
Lyrics by Richard Wilbur
Directed by Susan Grilli
Musical Direction: John Thomas
Set Design: Michael Steers
Costume Design: Carol Sherry
Drums/Percussion: Brad Conant
Violin: Marija Kovacevic
Recorders: Roxanne Layton

Featuring: Ben Griessmeyer (Candide), Nell Snaidas (Cunegonde), Adam Berry (Voltaire/Pangloss), Lacey A. Waite (Old Lady), Darlene Van Alstyne (Paquette), Jon Shee (Maximilian), Jereme Anglin (Ensemble), Fran O'Neill (Ensemble), Joanie Carney (Ensemble), Stan Cooper (Ensemble), John Stephens (Ensemble), Tim Babcock (Ensemble), Leif Johnson (Ensemble), Chris Brooke (Ensemble)

Counter Productions Studio
Whalers Wharf
237 Commercial Street

July 21-August 13

Review - Slap&Tickle (Robert Driemeyer in association with Jim A. Lande)

By Byrne Harrison

I'll admit that I wasn't exactly sure what to expect from David Parr's new play, Slap&Tickle, currently at The Provincetown Theater. It's set in a gay bathhouse, is sponsored by Manhunt, and has a funny sounding title. I guess I was expecting an updated version of Terrence McNally's The Ritz. While Parr's Slap&Tickle certainly has it's comic moments, this nuanced play about a group of men whose lives intersect at a bathhouse is certainly no broad farce. Well written and extremely well acted, Slap&Tickle is a surprise and not to be missed.

Parr's play is non-linear, allowing the stories of the various characters to be told in short pieces, each character's story revealing a little bit about themselves and often another character. The play continuously loops back upon itself to give a different point of view on a scene or to create connections between characters that are not readily apparent. It's an exciting and fascinating form of storytelling that hooks the audience and keeps them interested.

Director David Drake has assembled a terrific ensemble featuring J. Stephen Brantley, Todd Flaherty, Joe MacDougall, Christopher MacDow, Joseph Mahan, and Aaron Tone. These six actors play multiple characters (there are twenty or so characters presented during the play). While most of the characters can be distinguished by slight costume changes - one wears his towel like a sarong, another a baseball cap, one a string of pearls - even without these visual aids, the actors do such a remarkable job creating these characters that it would be easy to follow as they change from person to person. As an audience member, it's exciting to see an actor create a number of characters during one play and excel at making them unique and memorable. This cast does a terric job at that, with particular praise going to J. Stephen Brantley and Joe MacDougall, both of whom so thoroughly transformed from character to character that it was easy imagine that one was watching a much larger cast of actors.

Only two actors play sigle characters. Joseph Mahan as Billy, an older, flamboyant gay man whose story about stealing his mother's pearls and finding an "Uncle," an older gay man who taught him about life, were both funny and touching, and Aaron Tone as Frank, an employee at the bathhouse who had a childhood crush on Han Solo and was the victim of a vicious attack. They provide an anchor for the play, a couple of fixed presences at the bathhouse.

Drake once again excels as a director, creating a fast-paced, yet easy to follow production. His set design is simple but visually interesting, creating numerous levels in the playing area for the actors to use. Chris Page's lighting design is also effective, and Susan Morabito's music is a very nice addition to the show.

Quite easily the best performance I saw while in Provincetown, Slap&Tickle is eyeing a New York run. If you are visiting the Cape, I highly recommend


Slap&Tickle
Written by David Parr
Directed by David Drake
Original Music: Susan Morabito
Set Design: David Drake
Lighting Design: Chris Page
Costume Design: Beto Guedes
Stage Manager: Charlie Owens
Technical Director: Dean Denmon
Marketing: Ron Johnson

Featuring: J. Stephen Brantley (Brett, Josh, David, Tim), Tod Flaherty (Sam, Jesse, Dale), Joe MacDougall (Ray, Danny, Marcus), Christopher MacDow (Mel, Vic, Aldo), Joseph Mahan (Billy Sunday), Aaron Tone (Frank Stark)

The Provincetown Theater
238 Bradford Street

Call 508-487-9793 for tickets.

July 6th - August 14th

Review - Songs From An Unmade Bed (Counter Productions)

Review by Byrne Harrison

Songs From An Unmade Bed, the song cycle featuring lyrics by Mark Campbell and music by a number of composers, celebrates the small, quiet moments in urban gay life - no coming out stories, no politics, no wringing of hands over the state of things today. It's just the sly smiles after a tryst, a boyfriend's charming but somewhat inept attempts to play the cello, and seeing a lover naked for the first time. Nothing profound and earth-shattering. Just normal, everyday events.

Brian Dunham takes on the songs with appropriate enthusiasm. He cuts a pleasant figure, and has a good voice, though he tends to become overly breathy on his high notes. He shows a particular gift for the show's quiet and touching numbers, and is able to create an almost palpable wistfulness during some of the songs. Some numbers which are a little more cynical in nature, or those that have a hint of anger, are not as effective, as he has a tendency to miss the wry, self-deprecating humor that should accompany them. Overall, however, he performs well and keeps the audience engaged.

The show is perfectly suited for Counter Productions' intimate studio space on Whaler's Wharf, and director Susan Grilli uses the space to maximum effect. There are a few times when she allows Dunham to wander into shadow, but this is a minor distraction. Music Director Jim Rice and Cellist Elizabeth Schultze perform well, though there are times when Dunham and Rice seem slightly out of sync. These lapses never last particularly long, but they are enough to pull one out of the moment.

Despite a few rough patches, Songs From An Unmade Bed provides a pleasant diversion for those seeking theatrical pleasures in Provincetown.

Songs From An Unmade Bed
Lyricist: Mark Campbell
Composers: Debra Barsha, Mark Bennett, Peter Foley, Jenny Giering, Peter Golub, Jake Heggie, Stephen Hoffman, Lance Horne, Gihieh Lee, Steven Lutvak, Steve Marzullo, Brendan Milburn, Chris Miller, Greg Pliska, Duncan Sheik, Kim D. Sherman, Jeffrey Stock, Joseph Thalken
Diretor: Susan Grilli
Music Director: Jim Rice
Cellist: Elizabeth Schultze

Featuring: Brian Dunham

Counter Productions Studio
Whaler's Wharf
237 Commercial Street

Mondays and Tuesdays through August 10th

Review - Canned Ham (TWEED TheaterWorks, Kearns Artist Services, and David Drake Productions)

Review by Byrne Harrison

Shows featuring former porn stars seem to have become de rigueur in Provincetown during the summer season. They draw in the crowds, not because the actor is talented or the show is compelling, but because the actor is (or was) sexy, and there is a high likelihood that he will get naked at some point in the show.

In that sense, it comes as no surprise that Tom Judson makes his first appearance in Canned Ham posing on a platform, a jockstrapped Olympian made flesh. What does come as a surprise is when he picks up an accordion a few minutes later and starts belting out "Lullaby of Broadway." This is clearly not your typical porn star memoir. This one has a sense of humor... and a talented performer.

Judson tells of the long and winding road that led from musical theatre (he was in the touring companies of Cabaret and 42nd Street) to his chance meeting with director Chi Chi LaRue. It was Chi Chi's perseverance which led to the creation of "Gus Mattox," Judson's porn alter ego, and his eventual winning of the GayVN Performer of the Year Award, sort of a Best Actor Oscar for gay porn, at the inconceivable for the industry age of 45.

Unlike many of the one-man porn star shows, Canned Ham never becomes a morality tale. No descent into drug use and degradation for Judson, porn is merely another in the amazingly long and diverse line of jobs that he has had in his life. For him, porn was a lark. That seems to be how Judson approaches much of his life, with a kind of joy and wonder.

That's not to say that Canned Ham is all light and humor. Part of what led Judson on this particular path was the death of his lover from AIDS. Though it was the roughest period of his life, it led to one of his most sublime experiences on the island of Capri, one that he describes in magical detail.

As a performer, Judson is open and amusing, with an infectious, likeable grin. At times his performance lacks a certain spontaneity - that spark that makes the audience feel that they are the only ones that Judson has told these stories to - but in the long run, his personality and the stories themselves more than make up for this. He is approachable, and happy to meet his fans after the show (and, of course, to sell them merchandise - an adorable Canned Ham t-shirt). He is just as winning offstage as on.

Canned Ham is worth seeing just for the charming and multi-talented Judson. His life stories, good natured backstage bitchery (Judson's porn co-star Pierre Fitch takes a bit of a pounding, so to speak, as does Teri Hatcher), and musical talents combine for a fun evening of theatre.

Canned Ham
Written and Performed by Tom Judson
Directed by Kevin Malony
Costumes by William Ivey Long

The Art House
June 6-September 6, 2010

Review - Christine Pedi in "Great Dames" (Post Office Cabaret)

By Byrne Harrison

I've been fortunate enough to see Christine Pedi perform a number of times, most often as part of the Forbidden Broadway franchise. She is a brilliant impersonator (her Ethel Merman is my absolute favorite) and an excellent performer.

I was thrilled to find out that Pedi would be performing this summer in Provincetown (which took away some of the sting of finding out Lea DeLaria would not be). Great Dames, a celebration of her most well-known divas, does not disappoint.

For those who have never seen her perform, Great Dames will serve as a good primer. Running approximately an hour, it allows Pedi to show off her best impersonations (Barbra, Liza, Judy, Angela, Carol, Joan... the list is long) and a couple of hilarious videos (if you've ever wondered what Angela Lansbury would sound like as a phone-sex worker, you can find out). If you have seen her before, the advantage of seeing her perform at the Post Office Cabaret is that it is a very intimate venue and will make you feel like Pedi is performing just for you.

Great Dames is fun post-Tea/pre-dinner show. I recommend buying Pedi's latest CD and taking time to chat with her after the show. She's just as charming in person as she is on stage.

Christine Pedi in Great Dames
The Post Office Cabaret
303 Commercial Street

Thursdays through Sundays, 7:30 PM

Review - John Thomas & Company featuring Adam Berry and Ben Griessmeyer (The Waterford Tavern)

By Byrne Harrison

It's vacation time at StageBuzz.com, and what could be more relaxing than exploring the theatre scene in Provincetown? As expected in the East Coast's most vibrant arts community, there are a myriad of plays, musicals and cabaret to experience. Reviews, of course, will follow.

In the meantime, I highly recommend that people visiting P'town on Fridays and Saturdays during the summer head to the Waterford Tavern to see Adam Berry and Ben Griessmeyer perform with pianist John Thomas during his afternoon cabaret show on Captain Lavender's Deck. This talented trio performs a nice mix of songs, concentrating on the standards. Their song list is flexible, changing depending on their mood and on which of their talented friends drop by. A recent Saturday featured some of their co-stars from Candide, in which Adam and Ben are performing under John's musical direction, and showcased a few songs from the show. Friday's performance was more traditional, featuring such standards as "Blue Skies," "Get Happy," "Summertime," "Bewitched, Bothered and Bewildered," while working in some William Finn ("I'd Rather Be Sailing"), Alicia Keys ("If I Ain't Got You"), Jonathan Larson ("I'll Cover You"), and other current pop and Broadway artists.

Although the music is always the most important thing in a cabaret act (and frankly, Berry, Griessmeyer and Thomas have that well in hand), I'll admit that what brings me back to see Berry and Griessmeyer perform isn't just the duo's vocal abilities. The two, who are partners both personally and professionally, have such wonderful chemistry that they are a constant source of fascination. As they perform, they share glances, smiles and the occasional good natured eye-roll if something goes south. Berry's face lights up when Griessmeyer nails a particularly challenging song. Griessmeyer can be seen silently singing along with Berry at times with a big smile on his face. It's charming to see two people so happy to be performing together.

Captain Lavender's Deck is a fairly small space and the shows are well attended, so if you want to be seated during the performance, it pays to get there a little early. The Waterford Tavern features good food, strong drinks, and a charming and attractive wait-staff, so being early is never a burden.

The Waterford Inn, Cafe & Tavern
386 Commercial Street

Fridays and Saturdays, 4:30-6:30 PM.

Review - The Secret of Sherlock Holmes (People's Light & Theatre)

By Byrne Harrison

Seeing the People's Light & Theatre production of Jeremy Paul's The Secret of Sherlock Holmes is like seeing two shows for the price of one. Whether or not this is a good thing will depend on the style of theatre that you enjoy.

Paul's play only hints at the stories that Holmes aficionados know by heart. His purpose in writing the play is to explore the relationship between these lonely men who become fast friends, Sherlock Holmes and Dr. Watson, from their first meeting on Watson's return from the 2nd Afghan War to Watson's discovery three years after Holmes' disappearance at Reichenbach Falls that he has been alive and in hiding, leaving Watson to believe him dead.

The first act of the play is very presentational. Holmes and Watson narrate their own stories, directly addressing the audiences and jumping in occasionally to perform brief scenes. The effect is not unlike attending a lecture by two genial professors, interesting perhaps, but not terribly dramatic. It does, however, allow Paul to give a great deal of backstory for Holmes and Watson's relationship in a short period of time.

The second act of the play, taking place in Holmes' apartment after his return from the dead, leaves the narration behind and relies on a more representational style of theatre. Holmes explains his "death" at Reichenbach Falls, his years spent in hiding, and the secret - one that he has kept from Watson for many years - about Holmes' arch-nemesis, London crime boss Professor Moriarty.

Rather than minimizing the differences between the two acts, director Stephen Novelli has accentuated them, primarily through the use of scenic designer James F. Pyne, Jr.'s radically different sets. In the first act, the storytelling phase of the play, Pyne creates a spartan set with minimal furniture and sets that primarily consist of white, movable flats brought to life by Lauren Mandilian's excellent video projections. The second act recreates Holmes' apartment in plush, vivid, Victorian detail from the books, masks, weapons and other knickknacks to the textured wallpaper and oriental rug. The change is swift and exciting, leading many a surprised audience member who stepped out at intermission to express shock and delight at the transformation.

Actors Peter DeLaurier (Holmes) and Mark Lazar (Watson) give solid performances, creating versions of Holmes and Watson who do not seem to be merely amalgams of the popular film and television incarnations. The two share a good chemistry, no doubt accentuated by their experience playing Holmes and Watson in the comedy Sherlock Holmes & The Case of the Jersey Lily at People's Light & Theatre in 2008. Lazar in particular is very affecting as the outwardly jovial, but extremely protective Dr. Watson.

While there is a lot that is right with this production, ultimately it is undone by Paul's script. In his desire to have Holmes and Watson be storytellers, both in terms of their narration in the first act and in their revelations to one another in the second, Paul has created a play full of words, but without much drama. And while DeLaurier and Lazar are strong storytellers, the play is simply too static, leaving the audience longing to see some action and adventure, not merely to have it described to them.

The Secret of Sherlock Holmes
By Jeremy Paul
Directed by Stephen Novelli
Production Manager: Charles T. Brastow
Scenic Designer: James F. Pyne, Jr.
Costume Designer: Marla J. Jurglanis
Lighting Designer: Gregory Scott Miller
Sound Designer: Robert Kaplowitz
Video Designer: Lauren Mandilian
Production Stage Manager: Patricia G. Sabato
Technical Director: Joseph Franz
Scene Shop Foreman: Dylan Jamison
Scenic Painter: Will Scribner
Scenic Carpenter: Jefferson Haynes
master Electrician: Gregory Scott Miller
Assistant Master Electrician: Chris Hallenbeck
Costume Shop Manager: Marla J. Jurglanis
Cutter/Draper: Abbie Wysor
Wardrobe: Bridget Anne Brennan
Properties Master: Elizabeth Stump
Resident Dramaturg: Elizabeth Poole
Stage Management Assistant: Mike Chittenden

Featuring: Peter DeLaurier (Sherlock Holmes) and Mark Lazar (Dr. Watson)

People's Light & Theatre
39 Conestoga Road
Malvern, PA

July 7 - August 8, 2010

UPDATE: The Secret of Sherlock Holmes has been extended through August 15th.

Review - All The Kings Men

Review by Byrne Harrison
Photos by Li Colandrea

One audience member, upon leaving the Art House after an All The Kings Men performance, sniffingly said to her partner, "How can they call themselves drag kings? There wasn't even a single dildo in their show."

Clearly, she didn't get it, and that's a pity. Because of her preconceived notions of what a drag king show must be, she couldn't enjoy the rollicking entertainment that this talented cast provided during their too short stay in Provincetown as part of Girl Splash Weekend.

Luckily, Ms. Sniffy was in the minority. The rest of the audience clearly enjoyed ATKM for what it is, an all female theatre ensemble that explores gender stereotypes using physical theatre, costume, dance, music, comedy, and lip-synch. Their sketches range from comedy (a great sketch about two boys who discover love to a Wham! song), to drama (a marvellous dance performance about saving the planet), to just plain amazing (an exceptional dance tribute to Michael Jackson that had to be seen to be believed). They explore sexual attraction, gender identity, and the nature of drag itself. And they are, above all, entertaining and talented performers who create a show that is a melange of drag, theatre, dance, and performance art.

If you are in the Boston area, keep an eye open for All The Kings Men. If you like clever sketch comedy, music, dance, and an incredibly talented group of actors, you shouldn't miss their shows. If you're not in the Boston area, ATKM does travel, so visit their website and sign up for their mailing list.

For a sample of ATKM in action, watch their YouTube promo, and look out for "Play in the Gray," an upcoming documentary about the troupe.



All The Kings Men features: Katie Allen, Julee Antonellis, Leighsa Burgin, Jill Gibson, Maria Kogan, Karin Webb

Review - 2 Boys in a Bed on a Cold Winter’s Night (Creative Concept Productions and Adam Weinstock)

Review by Byrne Harrison

Spencer Quest, director David Drake and Scott Cunningham
Photo from Creative Concept Productions

Considering its reputation as a haven for artists of all kinds, it comes as no surprise that theatre is thriving in Provincetown, especially during the summer season. Also not surprisingly, much of the theatre is geared toward the LGBT community, either overtly as with Varla Jean Merman’s camp parody Shut Up Sweet Charlotte, or less so with the Provincetown Theater’s production of Terrance McNally and David Yazbek’s The Full Monty. Given the title of James Edwin Parker’s play 2 Boys in a Bed on a Cold Winter’s Night and the warnings in its publicity materials about its nudity and sexual situations, this play clearly falls into the former category. Those looking for a light comedy or an opportunity for some voyeurism may be surprised to find that they’re attending a thoughtful play about love, desire and relationships, and while both performers are certainly attractive, they are also remarkably good actors.

The title of the play sets the stage rather nicely. Daryl (Scott Douglas Cunningham) and Peter (Spencer Quest) are enjoying some post-coital napping in bed on a cold winter’s night. Having just met that evening at a bar, neither really knows anything about the other, except that they share an attraction and that they had some great sex. Peter, rugged and taciturn, wants to sleep, but Daryl is chatty. He wants to discuss relationships, jobs, and generally try to determine if he and Peter are compatible. Daryl is looking for a boyfriend; Peter is just looking for a good time. Though it seems this will be a play about two opposites who may or may not make a lasting connection, Parker’s play is more complex. Neither character is quite what he seems and it’s this unveiling and discovery that gives the play its most interesting moments.

Cunningham makes a very believable Daryl. As a “pretty” gay man nearing 40, Daryl has seen the writing on the wall. Having not had a relationship lasting more than a few dates in years, he desperately wants some sort of human connection. Lost in nostalgia for his youth and his last somewhat successful relationship, he has trouble connecting in the here and now. His need for intimacy comes across as desperation, especially when he blurts out the “L word” at an inopportune moment. At times like a friendly puppy, at others shrewdly calculating and bitter, Daryl allows Cunningham to show some good range.

Despite his lack of theatre credits – his only other one is the NYC production of Naked Boys Singing - Quest is remarkably strong as philosopher/construction worker Peter. Quiet and sexy, Peter seems as self-assured at Daryl is needy. It isn’t until the end of the play that Peter allows this façade to slip and the audience glimpses some of the pain that his cocky manner hides. Quest excels in these quieter, more vulnerable moments.

Like many plays from the early ‘90s, 2 Boys deals with AIDS, but it is not an AIDS play, per se. AIDS is more of a metaphor for Daryl’s general fear of life and love and what drives Peter’s hedonism. And though it deals with a couple of gay men, it’s not really a gay play. The issues that are being discussed, the fear that both characters deal with, and the yearning for love and intimacy that everyone craves are universal, and that is the strength of this play.

Ably directed by David Drake, who brings out the humor and poignancy in Parker’s script, 2 Boys in a Bed on a Cold Winter’s Night is a strong production of an interesting and thought-provoking play.

Written by James Edwin Parker
Directed by David Drake

Featuring: Scott Cunningham (Daryl) and Spencer Quest (Peter)

The Art House Theater
214 Commercial Street
Provincetown, MA

Through Tuesday and Wednesday at 9 PM through August 27th
For tickets visit OvationTix.